Visual culture within comprehensive art education and elementary

1. Georgia State University ScholarWorks @ Georgia State University Art and Design Theses Ernest G. Welch School of Art and Design 5-13-2011 Visual Culture within Comprehensive Art Education and Elementary Art Curriculum Amanda J. Muirheid Georgia State University Follow this and additional works at: http://scholarworks.gsu.edu/art_design_theses This Thesis is brought to you for free and open access by the Ernest G. Welch School of Art and Design at ScholarWorks @ Georgia State University. It has been accepted for inclusion in Art and Design Theses by an authorized administrator of ScholarWorks @ Georgia State University. For more information, please contact [email protected]. Recommended Citation Muirheid, Amanda J., "Visual Culture within Comprehensive Art Education and Elementary Art Curriculum" (2011). Art and Design Theses. Paper 80.

2. VISUAL CULTURE WITHIN COMPREHENSIVE ART EDUCATION AN ELEMENTARY ART CURRICULUM by AMANDA J. MUIRHEID Under the Direction of Dr. Melody Milbrandt ABSTRACT This thesis addresses why a comprehensive art education curriculum needs to merge with visual culture in order to better serve current elementary students today. The review of literature supports this theory and proves that the two approaches work together to make learning relevant and effective. The units of study provided make up a guideline that show teachers how to include visual culture into the current comprehensive art education structure. This allows students to bring their own ideas and experiences into the classroom, and results in making the visual arts more personal. Following this curriculum will help students own their education and ultimately gain higher level thinking and learning in the visual arts as well as other subject areas. INDEX WORDS: Advertising, Authentic instruction, Comprehensive art education, Discipline based art education, Social perspectives, Visual culture

3. VISUAL CULTURE WITHIN COMPREHENSIVE ART EDUCATION AN ELEMENTARY ART CURRICULUM by AMANDA J. MUIRHEID A Thesis Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Art Education in the College of Arts and Sciences Georgia State University 2011

4. Copyright by Amanda J. Muirheid 2011

5. VISUAL CULTURE WITHIN COMPREHENSIVE ART EDUCATION AN ELEMENTARY ART CURRICULUM by AMANDA J. MUIRHEID Committee Chair: Melody Milbrandt Committee: Melanie Davenport Kevin Hsieh Electronic Version Approved: Office of Graduate Studies College of Arts and Sciences Georgia State University May 2011

6. iv ACKNOWLEDGEMENTS First and foremost I would like to thank all of the members of my committee: Dr. Mildbrandt, Dr. Davenport, and Dr. Hsieh. Thank you all for your encouragement, dedication, constructive criticism, and support throughout this educational process. Continue to be inspirations for all of your students because we really do appreciate all that you do. Secondly, I wish to thank my parents: Mr. David Muirheid and Mrs. Sondra Muirheid. My parents taught me well, inspired me to make something of myself, and always put me first whenever I needed their help. They were always willing to assist me whether financially, emotionally, or any way they possibly could. To this day my parents continue to help me whenever I need them. Thank you both for making sacrifices all those years. Thank you so much for being proud of the person I turned out to be even if you didnt agree with all of the choices I made in life. I love you Mom and Dad! Nate and I appreciate your hard work and moral values. Lastly, I want to thank Jimmy Hernandez for always being there for me. Whenever I feel like giving up he is always there to remind me that people are good, persistence is success, and life is a wondrous pleasure. Most importantly, he supports me and treats me with respect whether he agrees or disagrees with me. I will be there to support and cheer you on when you go for your Masters. Thank you Jimmy and I love you always.

7. v TABLE OF CONTENTS ACKNOWLEDGEMENTS ..... iv LIST OF FIGURES ..... vii INTRODUCTION ..... 1 Need for the Study ...... 2 Purpose of the Study ...... 3 Methodology ...... 4 Research Questions ... 7 Limitations .... 8 Operational Definition of Terms ...... 8 REVIEW OF LITERATURE 11 Visual Culture Includes all Experiences Inside and Outside of the Classroom. 11 Visual Culture Includes Multiple Cultures ..... 12 Visual Culture Transforms Individuals .. 13 Visual Culture Transforms Society 15 Visual Culture Fits into our Technologically Focused Society . 16 Visual Culture Helps Students Own their own Education . 17 Visual Culture Paves the Way of the Future .. 18 RESOURCE CURRICULUM GUIDE .... 20 Advertising with Andy Warhol Grade 1 .. 20 Advertise Your Favorite School Subject Grade 1 ... 31 Selling Your Art Grade 1 38 Keith Haring & Advertising Grade 3 .. 42

8. vi Subway Communication Grade 3 ..... 49 Interpretation & Art Grade 3. 54 Subway Installation Grade 3 .... 58 Implied Messages in Advertising Grade 5 .... 61 Create a Magazine Ad with an Implied Message Grade 5.72 Interpretation Grade 5 .. 78 DISCUSSION OF THE CURRICULUM... 83 Suggestions for Implementing the Curriculum... 83 Reflections on Curriculum Development ..... 87 CONCLUSIONS ... 90 Implications for the Field of Art Education...90 Recommendations for Further Research...93 REFERENCES..96 APPENDIX...98 Annotated Bibliography of Website Resources for teaching Visual Culture & Advertising 98

9. vii LIST OF FIGURES Figure 1..23 Figure 2..23 Figure 3..24 Figure 4..24 Figure 5..25 Figure 6..25 Figure 7..26 Figure 8..26 Figure 9..26 Figure 1027 Figure 1127 Figure 1227 Figure 1328 Figure 1428 Figure 1565 Figure 1666 Figure 1767 Figure 1867 Figure 1968

10. 1 INTRODUCTION Curriculum is the backbone of education, and making sure that current curriculum is effective is an arduous and continuous task. Without a solid and updated curriculum, educators will have to fight even harder for the subjects validity in schools. Although many popular theories and ideas come and go as trends within education, discipline-based art education (DBAE) took hold in the 1980s. I believe that DBAE has given definition to the subject by breaking down a large body of knowledge into basic disciplines in a well-organized and comprehensive way. Siegesmund (1998) reminds us that unless art education is perceived as providing a body of knowledge worth knowing, it will remain marginalized (p. 209). Therefore, DBAE has helped justify art as an important subject which must remain in schools. If DBAE is so successful, then why change the curriculum? Even though DBAE is a great starting point for curriculum providing teaching in the areas of art production, history, criticism, and aesthetics, it is lacking the reflective interpretation of visual culture (Pauly, 2003). Other educators believe the same thing. According to Freedman (2003), Fine art is still critically important, but it is only one form of visual culture worthy of study (p. 20). She goes on to explain that visual culture must be included in the curriculum because we are in a new artistic renaissance which demands education in the future to teach students about the power of imagery and the freedoms and responsibility that come with that power (p. 20). Contemporary art educators need an approach to teaching art that recognizes the value of art knowledge embedded in the curriculum, but one that also investigates the complex networks of meaning and power within which images are connected (Pauly, 2003, p. 267). The most recent revision on art education curriculum is in the form of an authentic and comprehensive one. Anderson & Milbrandt (2005) explain that authentic education focuses on teaching and learning

11. 2 and addresses real-world issues and meanings beyond school and thus guides the curricular structure of art for life: comprehensive art education (p. 7). This is why I believe that a comprehensive art education needs to merge with visual culture to better meet the demands of students at present. Need for the Study Students learn best when they can pull ideas and experiences from their own lives and add these into their course work at school, and pulling from visual culture would continue to confirm the importance of teaching to the full breadth of visual images available to us (Blandy & Bolin, 2003, p. 246). Students can relate to fine art images, but expanding the images studied to appreciate the broadest possible range of objects, artifacts, spaces, expressions, and experiences will ultimately contribute more to the learning process (Blandy & Bolin, 2003, p. 246). Adding visual culture will also increase interest. For example, struggling students may have little motivation to learn about Degass The Dance Class, how to multiply double digits, or how to write an essay about making a peanut butter and jelly sandwich, but they love video games. Couldnt it be possible that an art teacher might better reach these students by letting them create an art project that has something to do with their favorite appropriate video game so that they may begin to enjoy school? Delacruz (2009) favors this idea as she reminds us, Caring teachers listen and learn about students needs, interests, and talents, gaining deeper insights about how to build lessons and plan for individual student progress (p. 16). Allowing students to bring aspects of their personal visual culture into the lessons will strengthen the comprehensive art education curriculum by adding this missing element. Mirzoeff (1999) explains, The gap between the wealth of visual experience in postmodern culture and the ability

12. 3 to analyze that observation marks both the opportunity and the need for visual culture (p. 3). He suggests that children are overwhelmed by visual imagery throughout their lives, and not just in school. Whether intentional or not, this imagery is playing a large role in shaping the lives of young students. The gap between the reality of artists sensibilities and the theoretical apparatus of much (especially academic) art criticism suggests that the understanding of the relation between fine art and visual cultures needs a major conceptual overhaul more in keeping with whats actually going on. (Drucker, 1999, p. 37) Schools need to deal with visual culture imagery that students see in their daily lives to make education more relevant for all students. I accomplished this task by following the comprehensive art education theory and by creating lesson plans which focus on visual culture for the elementary classroom. Purpose of the Study I fused visual culture and comprehensive art education together in a curriculum to allow students to learn about the visual arts in a holistic approach. Bolin & Blandy (2003) agree that art education would be more readily served by embracing far-reaching holistic forms and practices that can be critically examined through the interdisciplinary, multidisciplinary, and transdisciplinary methods (p. 246). The combination of a comprehensive art curriculum and visual culture will pull from many disciplines and will allow students to be more successful because these strategies are tools to help teachers reach reluctant students and learn about youth culture outside of the classroom (Williams, 2008, p. 18). When students bring their own youth culture into the art lessons they will be more engaged and ultimately gain higher level thinking and learning. Freedman (2003) supports this claim by reminding us that important learning

13. 4 outcomes cannot always be predicted and, in art education, the best outcomes are often those that are beyond the box of the objectives in their creativity, imaginativeness, and originality (p. 112-113). A comprehensive art curriculum and visual culture will work together to cover basic objectives while also providing the opportunity for students to seek out higher level learning outcomes. After studying visual culture in art education I created a series of lesson plans (which is equal to a unit topic of study) for first, third, and fifth grades, for a total of ten lessons. The lesson plans are designed to be examples for art teachers so they may see how to implement visual culture into their daily classes and apply these topics in their studies. These lessons follow the current Fulton County Curriculum standards for the 2010-2011 school year. It is easy to cover state and national standards within a curriculum that combines a comprehensive art education with visual culture, and students from kindergarten through high school will greatly benefit from such a curriculum. The following lessons each include visual culture as a part of a comprehensive art education program. In summary, I hope these examples inspire teachers to create their own lesson plans that are authentic so that students will pull their own lives and observations into each lesson. Methodology I did not field test any of the lessons, so there is no student data represented. Instead, I created an annotated bibliography of website resources (p. 99) that can help teachers teach the advertising and visual culture units that I created. More information on the websites is provided in the Suggestions for Implementing the Curriculum section of the paper (p. 83). The websites may also be used as student resources or inspirations for creating additional lesson plans about

14. 5 visual culture and advertising. I also included reflections on my research and on the lesson plans that I wrote. I created three units of study, one for first grade, one for third grade, and one for fifth grade. Each unit focused on advertising and social perspectives, but featured different art production tasks and media. Since visual culture encompasses so much, I needed to narrow my topic down to a select theme in order to focus on the important ideas. The chosen theme was advertising because it is influential to young students, and because the teacher can guide this topic in many different directions. One big idea I wanted first grade students to understand is that advertising selects specific social groups to advertise to and I wanted them to be able to discuss how this is accomplished. When viewing an advertisement students should be able to find clues that tell them who the advertisement is meant for; for example, a toy commercial is meant to attract the attention of kids. Make up commercials are designed for women, and most video game commercials and ads are created for men. The students would have to think about their target audience in order to complete the art project, and would focus on elementary students as their target group. For third grade, I wanted the students to understand that there are many different ways to advertise and that art is a form of communication which reaches many people. I wanted them to use the Feldman Method to evaluate art so that they would think about how the viewer will interpret their own piece. They would need to choose an appropriate message to advertise to the world. This would entail choosing a topic that is appropriate for the public since they would have no control of who could see the art, as well as one that could be easily communicated through drawing. The final lesson on installation is a one day lesson which would help students get involved with the art show concept and would get them thinking about displaying work.

15. 6 As for fifth grade, I wanted students to understand that advertisements contain hidden messages that influence our decision to purchase the specified object or item. For example, when a soda commercial shows a pop star drinking the beverage instead of a non-famous person, this will influence some people to buy the soda because of the famous person and not the actual soda itself. Another example is a weight loss commercial that shows before pictures of overweight people alone, and then shows the same people after losing weight with other people having fun. The hidden message here is that if you lose weight you will make more friends. Students would need to watch some commercials and view some magazine ads in order to discuss the hidden messages and design their own ad which sells something using a hidden message. Each unit would span four to five weeks of instruction, with each class being forty-five minutes once a week. I wrote the lesson plans between October 2010 and January 2011. I used the Fulton County Standards because I currently teach in Fulton County, at S. L. Lewis Elementary School. The standards were new this year because they had recently been updated. This is the first school year to use the new standards which changed from four topic categories of Production, History, Criticism, and Aesthetics to five topic categories. The five categories are Meaning & Creative Thinking, Contextual Understanding, Production, Assessment & Reflection, and Connections. The new standards are similar to the previous ones, but they have been expanded to include more ideas and to be more comprehensive. The committee who developed these standards began by starting with the National Standards and the Georgia Performance Standards, but then added additional and more detailed standards. Fulton County art teachers need only to follow their own list of standards because the National and State Standards are embedded in the curriculum.

16. 7 When I began writing, I came up with the art production task related to advertising that I wanted each grade level to accomplish. I sketched a word web and jotted down my ideas to see how each idea connected with a comprehensive art education curriculum and the five areas of the Fulton County Standards. After this brainstorming task, I filled out an art curriculum chart for each grade level to outline the lessons. This included me combing through the Fulton County Curriculum Standards focusing on the pacing charts to correctly pull the standards which best complimented and went along with my lesson plan ideas. After doing so, I then concluded that the best unit that my advertising/visual culture lessons fit into was Art is a Language. The Fulton County school year is divided into four main units of Art is a Language, Art is a Creative Form of Communication, Art is a Personal Experience, and Art is a Universal Experience. Each unit is designed to cover nine weeks, so each one is a quarter of the school year which goes along with the four different grading periods. These units would be taught at the beginning of the school year, from August through October. We are required to teach specific standards during the specific unit of the grading period. I selected visual culture images, artworks, artists, or other images that went along with each art production task and that would stimulate discussion. Each unit entails students comparing and contrasting fine art images to visual culture within the theme of advertising. Research Questions Questions I explored which guided my research during this curriculum project are: 1. In what ways might I teach visual culture in a comprehensive art education curriculum? 2. In what ways can visual culture be taught sequentially through a study of advertising using the Fulton County Standards?

17. 8 3. In what ways might I ask students to compare traditional art images to visual culture? 4. What can I learn about my teaching by designing this curriculum? Limitations One large limitation for completing this project was not having any student data represented because I was not able to field test the lessons. The first unit of planned instruction (Art is a Language) ended in mid-October, and was almost over by the time the lessons were written, since I began writing them in the beginning of October. The lessons did not fit correctly into the school year for testing. I feel that if I was able to test at least one of the lessons, then the reflections would be stronger and more helpful to other teachers. Another limitation to my study was the absence of additional lesson plans for kindergarten, second, and fourth. I wanted to create them in order to show more sequential learning, but I ended up running out of time to create more lessons. Fulton Countys district requirements that standards must be taught at a specific time of year ultimately limited my freedom and made field testing lessons extremely difficult. Operational Definition of Terms Discipline-Based Art Education (DBAE) DBAE began as a theory for art education curriculum designed by the Getty Center for Education in the Arts in the 1980s. The four areas of study in a DBAE curriculum include art production, art history, criticism, and aesthetics. Visual Culture Visual culture is a movement which centers on the belief that all visual imagery shapes the way we live our lives. The breadth of visual images include the fine arts, tribal arts, folk arts,

18. 9 advertising, television, film, videos, performance, architecture, clothing, video and toy design, theme parks, and other forms of visual production and communication. Authentic Instruction Authentic instruction connects to real life, promotes active construction of knowledge, and develops intellectual and emotional skills. The opposite of authentic instruction would be passive learning such as rote memorization of facts and figures. Comprehensive Art Education This theory for art education curriculum centers on the belief that the study of art will help prepare students for success in school and beyond because it emphasizes the construction of meaning through depth of learning and real-world connections. The purpose of a comprehensive art education curriculum is to foster a life-long appreciation for art and learning by understanding that art has intrinsic as well as extrinsic value. Advertising The act or practice of calling public attention to one's product, service, or need through paid announcements in newspapers, magazines, television or radio commercials, brochures, on billboards, etc. Social Perspectives A concept within visual culture which deals with the educative power of positions and opinions expressed by individuals in social groups through visual forms. Meaning & Creative Thinking This content area of the Fulton County Standards develops creativity, critical-thinking, perceptual awareness, and problem solving skills through dialogue and essential questions.

19. 10 Contextual Understanding This area of the Fulton County Standards encourages students to recognize the impact of art on history and different cultures and how history and culture have influenced art. Production This content area of the Fulton County Standards teaches students to communicate meaning and develop skills through the media drawing, painting, sculpture, ceramics, fiber arts, printmaking, and digital media techniques. Assessment & Reflection This content area of the Fulton County Standards deals with students learning to describe, assess, interpret, and critique, and reflect upon artworks. Connections This content area of the Fulton County Standards requires students to make connections to other disciplines and to the world. They learn to understand, appreciate, and generate their own ideas about art, culture, and the human condition. They also learn how to justify judgments about art and determine the intent of an artwork as representational, structural, or expressive. Art is a Language Art is a Language is the first unit of study in the Fulton County Curriculum which comprises the first nine weeks of the school year. This unit focuses on art as a form of communication as its own visual language.

20. 11 REVIEW OF LITERATURE There are hundreds of books, magazines, and literature on the internet about visual culture as it pertains to art education. Educators continuously struggle with the decision of how to adjust the curriculum in order to keep up with changing times. Despite the lack of consensus for a perfect curriculum among educators, it is clear that art education may need to expand to include more aspects of visual culture because of the influence that imagery has on todays adolescence. Pauly (2003) states that visual images influence how children, adolescents, and teachers learn, perform, or transform their identities, values, and behaviors (p. 264). The term visual culture can be defined as all that is humanly formed and sensed through vision or visualization and shapes the way we live our lives which encompasses the fine arts, tribal arts, advertising, popular film and video, folk art, television and other performance, housing and apparel design, computer game and toy design, and other forms of visual production and communication (Freedman, 2003, p. 1). Since visual culture includes almost everything, shouldnt teachers pay attention to this broad topic of discussion? The following review is taken from many different sources in order to address the need for the inclusion of a study of visual culture in the curriculum. Visual Culture Includes all Experiences Inside and Outside of the Classroom All experiences shape our lives, and visual culture is included among these everyday experiences. Amburgy, Keifer-Boyd, and Knight (2009) state it simply as, Visual culture is significant because it presents ideas and stories that shape peoples lives (p. 46). Sometimes these influential life experiences happen in school, but they can also happen outside of school. In fact, many educators would argue that most critical life altering experiences occur outside of school where the teacher has little or no control of the situation. Freedman (2003) tells us that

21. 12 these experiences happen inside and outside of schools, at all educational levels, through the objects, ideas, beliefs, and practices that make up the totality of humanly conceived visual experience (p. 2). Since all experiences help to shape a young students life and not just the subjects studied in school, students need to be able to discuss these visual experiences in order to understand them. Freedman (2003) also states, The process of learning to make and adequately respond to the complexities of the visual arts is unlikely to occur without guidance, which is a cautious reminder of why students need to discuss these visual images in the classroom (p. xi). Just as outside experiences can hinder learning experiences inside the classroom, I believe that discussion inside of the classroom can enhance experiences outside of the classroom. Visual Culture Includes Multiple Cultures Drucker (1999) reminds us that the contest has always been set up by art historians already convinced of the intrinsic superiority of European models (p. 39). If schools limit visual studies to the Western art history cannon, then that curriculum leaves out an important part of our visual lives. Selecting reproductions from famous artists of different backgrounds is not sufficient for teaching deep cultural understanding because visual culture is more than studying paintings and drawings, for it is also every visual image seen in everyday life along with the cultural elements that exist within that image. Teachers need to integrate multiple cultures into the curriculum so that students will see how these cultures fit into art history, production, criticism, and aesthetics. Amburgy, Keifer-Boyd, & Knight (2003) ask the important question, as we recognize different systems of cultural values, beliefs, practices, and institutions, will we continue with the cultural mindset that regards our own culture as superior to others and consequently a model for all cultures (p. 46). Hence the task is for educators to use visual culture images to aid teaching for deep understanding in the visual arts. Children understand

22. 13 misguided attempts at integrating diversity, so the images studied in art class should reflect many different cultures. Mirzoeff (1999) agrees because the everyday life is a transcultural experience of the visual[that]is, then, the territory of visual culture (p. 26). We must continue to work on developing the necessary skills in order to carefully read the cultural symbols of the world (Blandy & Bolin, 2003). Duncum (2001) reminds us that observing the new visibility of culture is not the same as understanding it, so schools need to take action on helping students interpret these cultural meanings (p.103). Students should be allowed to discuss meaning according to different views, beliefs, and cultures since there is never one precise correct answer that triumphs over all other answers. As described by Freedman (2000), Without a context, a painting is just paint on canvas. With context, a painting is a work of art (p. 318). Including visual culture images with fine art reproductions will prevent cultural exclusions and allow students to study transcultural images which will bring greater understanding of information among different cultures. Visual Culture Transforms Individuals Siegesmund (1998) believes that art education is a tool for historical and moral instruction capable of transforming individuals because of schools and the nature of reconstructivist pedagogy (p. 201). Buck-Morss (2005) agrees by saying, Visual Studies can provide the opportunity to engage in a transformation of thought on a general level (p. 47). Art education and visual culture can work together to help transform individual thought because all imagery greatly affects the formation of schemas. Freedman (2000) says, Students have concerns, they ask questions, interpret imagery, and make judgments (p. 323-324). These judgments should not be ill-conceived, but arrived at with thorough debate and deliberation.

23. 14 For example, as a young girl subconsciously determines how women should look in order to be attractive to society she probably turns to cartoon women and dolls, such as current popular Disney, Bratz, and Barbie characters. The little girl takes in the large eyes, long legs, large chest, and grows up to realize that she does not look like these dolls which are exaggerated to the point of illusion. Are these observations harmless? Maybe they are. Could these observations be emotionally dangerous? Quite possibly yes. Freedman (2000) sees clothing, perfume, and cosmetic advertisements suggesting that buying a product will make us more individual, while fitting us better into the stereotype (p. 316). When young girls place too much pressure on themselves to fit into a stereotype, their thoughts can sometimes become distorted from reality and damaging results may occur. Culturally citizens know that young females suffer from low self-esteem, depression, and eating disorders related to body image more so than males. According to the U.S. Department of health and human services, The U.S. has a social and cultural ideal of extreme thinness. Women partially define themselves by how physically attractive they are, with the first contributing factor listed being culture (Para. 4). Pauly (2003) sees these ideas visually observed and unconsciously taken in as cultural narratives. She goes on to explain, These narratives refer to how history is told, what is considered culturally valuable, how social identities are imagined, who is considered beautiful, and what is more possible to think or imagine in the future (p. 264). All these narratives seep into our schemas and affect the way we see, think, and feel about the world. It can be years past secondary education before a damaged females psyche realizes that she took these harmful images too seriously. Studying visual culture images and concepts of beauty at the elementary level may help young women realize that there are many definitions of beauty and that women do not have to accept stereotyped symbols because everyone is different.

24. 15 Visual Culture Transforms Society Not only does art education and visual culture transform individuals, but they also influence society in considerable ways. Using visual forms as an agency to advance various social, cultural, political, and educational ends has a long history (Sullivan, 2003, p. 196). These visual forms deal with social perspectives in the form of critique and expression, as well as cultural response from different groups of people (Freedman, 2003). For example, access to the arts was limited in the past to people in the upper class. Women were discouraged from becoming artists for quite some time and were even banned from showing their art. Adu-Agyem & Ross (2008) remind us how some artists from the past have helped shed light on the contemporary bias against the acceptance of womens art in important venues (p. 34). Studying art history along with visual culture images in the art room can help students understand how authentic healthy images of and by women can powerfully transform society. Another way that visual culture can transform society is because it is a tactic with which to study the genealogy, definition and functions of postmodern everyday life from the point of view of the consumer, rather than the producer (Mirzoeff, 1999, p. 3). He is suggesting that society as a whole is empowered because they can determine the meaning of images from their own perspectives instead of being told what to believe. The control is placed back into the hands of the viewer. Drucker (1999) reminds us that insidious is the assumption that the terms of identity in class, ethnic, racial, or gendered terms can be read from images that themselves often articulated the stereotypes according to which social lines were drawn and then policed (p. 44). Dominant social entities routinely use imagery to influence public opinion because many citizens accept images as truth and fail to critique politically motivated images. Thanks to visual culture, old divisions between high and low have become irrelevant in relation to issues such as

25. 16 identity, representation, and ideology (Amburgy, Keifer-Boyd, & Knight, 2003, p. 45) These are just some of the ways that visual culture continues to transform society and the way people interpret visual imagery. Visual Culture Fits into Our Technologically Focused Society In an increasingly global and technological world, it is even more important that visual culture be included in the curriculum. Blandy and Bolin (2003) support the observation of changing times as stating: The expanding pervasiveness and influence of the Internet and the continuing refinement of electronic communication affirms the significance of networks and the systemic interdisciplinary, multidisciplinary, and transdisciplinary thinking that is required for fully participating in, appreciating, and understanding, life in this new century. (p. 258) Blandy and Bolin (2003) would argue that visual culture is not all that needs to be implemented into the art curriculum, but at least they agree that a satisfactory art education needs to address our technologically progressive society. In fact, Mirzoeff (1999) observes that the most striking features of the new visual culture is the growing tendency to visualize things that are not in themselves visual, for example, inside the body or out in space beyond our human sight (p. 5). Even though sight is not the only way to learn, the worlds focus on the visual is becoming more prevalent due to advances in technology. Delacruz (2009) believes that teachers conceptualizations about the relationships between art education, technology, young people, and world conditions are now of utmost importance (p. 13). With this new technology and global society comes a new set of skills. When our young students graduate and move into the real world they will see that no matter what job or major they acquire, they will be faced with difficult tasks that require multitasking

26. 17 and problem solving that may come from different areas of school. In this complicated time even highly specialized professionals realize that solving some of the most serious and important problems of the world demands interdisciplinary and cross-disciplinary knowledge (Freedman, 2003, p. 17). Since this is the case, education should follow this pattern within the curriculum to help students transfer cross-disciplinary solutions and ideas to real life situations. The more knowledge one has can increase problem solving skills which are an asset to any employer. A focus on visual culture in a comprehensive art curriculum will help teach students that all areas of life are connected, and encourage them to expand their thoughts and ideas across many different disciplines. Visual Culture Helps Students Own their own Education Most importantly, visual culture will allow students to take control of their own education. In fact, developing a visual culture art education involves students more actively and democratically in the making, adjusting, and implementing of its curriculum (Li, 2007, para. 11). Duncum (2002) supports this idea because critical understanding and empowerment are best developed through an emphasis on image-making where students have some freedom to explore meaning for themselves (p. 6). Again, if students can bring their own experiences into the classroom, then they will be more motivated to learn and to make valuable connections. Students will learn to make connections in art class to the world around them which includes school subjects, theme parks, TV commercials, movies, music, toys & games, church, magazines, and more. Efland (2004) claims, The visual culture orientation shows promise of reconnecting the arts within the cultural mainstream after a century of relative isolation (p. 239). When art is no longer isolated from other subjects the importance of the discipline will be self- evident.

27. 18 Using visual culture images in the art classroom helps to hook the interests of the students. Williams (2008) taught a comic book lesson to her students and now claims that teaching visual culture provides a bridge between the traditional art classroom and the world of images in which children are gladly submerged (p. 14). Allowing students to study and discuss comic books (or some other subject among visual culture) in comparison to fine art reproductions will capture interest and keep students engaged and motivated to learn since they are already fascinated with comic books. Visual Culture Paves the Way of the Future Art educators seem unified in a belief that art education can make a difference in an increasingly complex, interconnected world, and that art classrooms are places where young people may make meaningful connections to the culture, stories, and experiences of others. (Delacruz, 2009, p. 15) Even though all school subjects should eventually follow this lead, art education can pave the way for this new approach to education in this complicated and revolutionary visual society. Duncum (2001) believes that this growing need for visual culture will not decrease in the future because as developed societies increase their reliance on visual imagery, so will the need for understanding it, and that art educators are in a good position to contribute to the emerging field of visual culture by reconfiguring our own (p. 109). This reconfiguration of art education is necessary to keep up with changing times, as well as help give structure and better define the purpose of art education. I feel Dr. Siegusmund (1998) defines art best when he says: It is, however, a realm of feeling, sensory concepts, and exquisitely varied forms of human representation that give us insight into what it means to be in, relate to, and comprehend. Or, even more succinctly, to have knowledge of the world. (p. 212)

28. 19 Studying visual culture naturally fits into this definition of art because it helps students gain deeper understanding of our world. In the next section I will present three units of instruction for grades first, third, and fifth. Each unit of study will follow the comprehensive art education curriculum and focus on advertising. These lessons are designed to inspire young students to make connections between their own interests, visual culture, and the art projects. Students will understand that art education is more than an elite series of artworks chosen by privileged leaders and more about individual choices and cultural communications. They will compare and contrast images from the art world with images from their personal experiences in the world. Each final art product from these lessons will be unique, but each will meet the required standards showing in-depth learning. I hope these lessons will be valuable to elementary art teachers, but I encourage teachers to use professional judgment to alter or add to the lessons presented here to maximize the potential of their own classes and to best meet the needs of their individual students. I also encourage teachers to create their own art lessons which include visual culture.

29. 20 RESOURCE CURRICULUM GUIDE Advertising with Andy Warhol Grade 1 Duration: One 45 minute class By: Amanda Muirheid Unit 1: Art is a Language Fulton County Board of Education Standards Covered: Meaning and Creative Thinking VA1MC.1 Engages in the creative process to generate and visualize ideas. a. Uses a sketchbook for visual/verbal planning and self-reflection. c. Generates multiple visual images. VA1MC.3 Selects and uses subject matter, symbols, and ideas to communicate meaning. Contextual Understanding VA1CU.2 Views and discusses selected artworks, cultures, and artists (to include a minimum of six artists/cultures per year). c. Identifies artist and culture. Lesson Theme: Students will become familiar with the Pop artwork of Andy Warhol and see how his work communicates meaning and is a form of advertising. Objectives: The students will 1. view and discuss Andy Warhol reproductions as art and as advertising. 2. give examples of how an artwork communicates meaning. 3. sketch symbols and designs which represent their favorite school subject.

30. 21 Sample: Resources: Getting to Know the Worlds Greatest Artists Andy Warhol, Mike Venezia, Childrens Press. Andy Warhol PowerPoint Presentation (slightly altered) taken from: http://www.fultonschools.org/dept/curriculum/art/PowerPoints.htm Fulton County Curriculum Guide Vocabulary: 1. Andy Warhol 2. Pop Art 3. Advertising 4. Symbols Introduction/Motivation: The students will naturally be excited to see the bright pop images of Andy Warhol in the PowerPoint Presentation and will also be eager to answer questions and discuss the images. Instructors Procedures: (Day 1) 45 minutes 1. The teacher will begin the introduction by showing the students the PowerPoint Presentation. 2. The teacher will ask the students the following questions: What kinds of images do you see in pop art? (Famous people, food, cartoon characters, etc.) Why do you think Andy Warhol liked popular images? (His background in advertising, to help make others interested in art, etc.)

31. 22 What do you think he is trying to tell us with his art? (What messages can we get from the art?) What other things could be pop art? What is advertising? (Making us want to buy a product or watch a TV show, etc.) How is his art like advertising? (Is the art like a TV commercial or magazine ad?) If Andy Warhol were alive today and still creating art, what do you think youd see in his work? (Current pop celebrities and objects, etc.) Do you like his work? Why or why not? If you were trying to advertise a school subject, what would you draw? (For example, Art you could draw a paintbrush, a clay tool, etc.) 3. The teacher will check for understanding on what is Pop Art and how Andy Warhols art is like advertising. 4. Next, the teacher will ask the question, If you were trying to advertise your favorite school subject, what symbols or pictures would you draw? 5. The Teacher will also define the word symbol to make sure students know what a symbol is. 6. After discussing examples, the teacher will explain the drawing task, which is for them to choose their favorite school subject and draw symbols or pictures that will advertise the subject. The teacher will draw some examples on the board to help the students come up with ideas. They should draw 3 or more drawings. Materials and Materials Management: Images of Andy Warhols Art 13 images: 1. Self-Portrait, 1986 (Slide 1) 2. Self-Portrait with Skull, c. 1977 (Slide 2) 3. Self-Portrait, 1966 (Slide 4) 4. Mickey Mouse, c. 1981 (Slide 5) 5. Elizabeth Taylor, 1963 (Slide 8) 6. Flowers, 1964 (Slide 9) 7. 100 Cans of Soup, 1962 (Slide 10) 8. Banana, c. 1967 (Slide 12) 9. Turquoise Marilyn, 1962 (Slide 13) 10. Muhammad Ali, c. 1970s (Slide 14) 11. Liza Minelli, 1979 (Slide 15) 12. Campbells Soup Can, 1964 (Slide 16) 13. Marilyn Monroe, c. 1962 (Slide 17) Sketchbooks Pencils Erasers The teacher will use a projector to show the PowerPoint Presentation The teacher will use the weekly helpers to distribute and collect sketchbooks

32. 23 PowerPoint Presentation: Slide 1 Andy Warhol Pop Art Figure 1 Slide 2 Warhols Life Born in 1928 in Pittsburgh, Pennsylvania Sick as a child, Warhol drew pictures in bed He studied art in college and moved to New York City after graduating Warhol died in 1987. Figure 2 Slide 3 Warhol and The 60s Warhol used many popular images in his work A lot of his work looks like advertising, such as the Campbell's Soup Cans and Marilyns. Warhol began his career as a graphic designer, which is an artist who designs advertisements

33. 24 Slide 4 Andy Warhol, Self Portrait Figure 3 Slide 5 The Beginning of Pop Art Painting Title: Mickey Mouse Andy Warhol Famous American artist - Pop Artist Figure 4 Slide 6 What is Pop Art?

34. 25 Slide 7 Pop Art A visual art movement that began in the 1950s. Slide 8 Painting Title: Elizabeth Taylor Andy Warhol Famous American artist - Pop Artist Figure 5 Slide 9 Pop Art is one of the major art movements of the twentieth century. Figure 6

35. 26 Slide 10 Pop art uses popular things such as advertising, comic books, objects and famous people 100 Cans of Soup Figure 7 Slide 11 Pop Art, like pop music, aimed to show popular and everyday images Figure 8 Slide 12 Banana, created by Warhol for an Album Cover Figure 9

36. 27 Slide 13 Painting Title: Turquoise Marilyn 1962 Andy Warhol Famous American artist - Pop Artist Figure 10 Slide 14 Muhamed Ali, Professional Boxer Figure 11 Slide 15 Liza Minelli, Singer Figure 12

37. 28 Slide 16 Campbells Soup Can Figure 13 Slide 17 Marilyn Monroe, Actress Figure 14 Slide 18 References Pop art. (2008, October 12). In Wikipedia, The Free Encyclopedia. Retrieved 22:24, October 12, 2008, from http://en.wikipedia.org/w/index.php?title=Pop_art&oldid=244815918 .

38. 29 Student Procedures: (Day 1) 45 minutes 1. The students will view the PowerPoint Presentation about Andy Warhol and Pop Art. 2. The students will volunteer to answer the following questions: What kinds of images do you see in pop art? (Famous people, food, cartoon characters, etc.) Why do you think Andy Warhol liked popular images? (His background in advertising, to help make others interested in art, etc.) What do you think he is trying to tell us with his art? (What messages can we get from the art?) What other things could be pop art? What is advertising? (Making us want to buy a product or watch a TV show, etc.) How is his art like advertising? (Is the art like a TV commercial or magazine ad?) If Andy Warhol were alive today and still creating art, what do you think youd see in his work? (Current pop celebrities and objects, etc.) Do you like his work? Why or why not? If you were trying to advertise a school subject, what would you draw? (For example, Art you could draw a paintbrush, a clay tool, etc.) 3. The students will verbally explain what is Pop Art and how Andy Warhols art is like advertising. 4. The students will then answer the questions, If you were trying to advertise your favorite school subject, what symbols or pictures would you draw? by giving examples to the teacher. 5. The students will learn what a symbol is and give examples of what symbols represent. 6. After discussing examples, the students will choose a favorite school subject and draw symbols or pictures that advertise the subject. They will use the remaining class time to brainstorm and draw at least 3 different images. Closure/Review: The teacher will verbally review the lessons content, including the vocabulary words. The review is completed at the end of class after clean up and is used as a ticket out the door where the students answer the questions to line up. Each table must answer one question correctly, and if they cannot then the other students in the class may help them out. Assessment: The students will receive formative assessment during the discussion. The review at the end of class provides summative assessment. The practice sketches the students complete in their sketchbooks may be evaluated with a rubric.

39. 30 Assessment Questions: 1. Did the student view artworks by Andy Warhol and discuss them? 2. Did the student give any ideas for what the artwork might mean based on the visual image? 3. Did the student sketch 3-5 symbols to represent their favorite school subject? Assessment Instrument: Sketchbook Practice Drawing Rubric: Name_________________________________________________________________ Yes (2 points) No (0 points) Partly (1 point) 1. Did the student choose a favorite school subject? 2. Did the student draw symbols or pictures to advertise the school subject? 3. How many symbols or pictures did the student draw? S = 5-6 points I got _____ points, so my grade is a(n) __________ N = 3-4 points U = 0-2 points Teacher Comments: 1-2 drawings3 or more drawings

40. 31 Advertise Your Favorite School Subject Grade 1 Duration: Two 45 minute classes By: Amanda Muirheid Unit 1: Art is a Language Fulton County Board of Education Standards Covered: Production VA1PR.1 Creates artwork based on personal experience and selected themes. a. Creates artworks to express individual ideas, thoughts, and feelings from memory, imagination, visualization, environment and observation of real objects.Uses a sketchbook for visual/verbal planning and self-reflection. b. Identifies and creates artwork emphasizing one or more elements and principles of art (e.g., color, line, shape, form, texture). VA1PR.2 Understands and applies media, techniques, and processes of two-dimensional works of art (drawing, painting, printmaking, mixed-media) using tools and materials in a safe and appropriate manner to develop skills. a. Creates art works that attempt to fill the space in an art composition. Connections VA1C.2 Develops life skills through the study and production of art. b. Takes care in craftsmanship. Lesson Theme: Students will become familiar with the visual culture topic of advertising, specifically in that advertising caters to specific groups. Students will also design a t-shirt that advertises a school subject for elementary students. Objectives: The students will 1. view advertisements aimed at children and discuss how we know they are made for children, i.e. what specific clues tell us this is true. 2. design a t-shirt advertising their favorite school subject for the social group of elementary students.

41. 32 Sample: Resources: Advertisements such as magazine clippings or TV commercials Andy Warhol PowerPoint Presentation (slightly altered) taken from: http://www.fultonschools.org/dept/curriculum/art/PowerPoints.htm Fulton County Curriculum Guide Vocabulary: 1. Advertising 2. Visual Culture Introduction/Motivation: The advertisements will grab the students attention. They will love explaining what clues in the advertisements tell us that it is made for children, and they will love designing a t-shirt meant for other students their own age. Instructors Procedures: (Day 1) 45 minutes 1. The teacher will begin the lesson by briefly discussing advertising and visual culture. 2. The teacher will ask the students the following questions: What is advertising? (The act or practice of calling public attention to one's product, service, need, etc., in order for people to purchase it) What are some forms of advertising? (Newspapers, magazines, radio, television, billboards, internet, etc) Are advertisements for everyone, or are some meant specifically for certain groups of people? How can we figure out who the advertisement is meant for? (What clues give that information away?)

42. 33 If you were advertising something for a child your age, what would you do to get their attention? Do you think advertising is art? Why or why not? 3. The teacher will then briefly discuss visual culture, and mention how some people think art is visual culture while other people do not. 4. Next, the teacher will show the students some advertisements and the students will have to guess who the ads are meant for and explain why they think so. 5. After this activity, the teacher will introduce the art making task of designing a t-shirt for elementary students. The teacher will explain how they can use the sketches they began the week before and build upon those to design the shirt, and how they may want to include a little writing on the shirt. They must also try to fill up the t-shirt space so there are no blank parts. 6. The teacher will show examples and answer any questions the students have about their art task. (Day 2) 45 minutes 1. The teacher will review advertising and visual culture with the students, emphasizing the fact that ads are designed for particular groups of people. 2. After the review, the teacher will demonstrate how to color neatly with markers using complementary colors to make the t-shirt designs really stand out. The teacher will explain that the students may add other colors, but complementary colors must be used as part of the design and for the most important parts. 3. The teacher will help students and monitor the art making task. 4. The teacher will conduct clean up at the end of class. Materials and Materials Management: Images of advertisements for children (*Optional: recorded commercials): 1. Self-Portrait, 1986 (Slide 1) 2. Self-Portrait with Skull, c. 1977 (Slide 2) 3. Self-Portrait, 1966 (Slide 4) 4. Mickey Mouse, c. 1981 (Slide 5) 5. Elizabeth Taylor, 1963 (Slide 8) 6. Flowers, 1964 (Slide 9) 7. 100 Cans of Soup, 1962 (Slide 10) 8. Banana, c. 1967 (Slide 12) 9. Turquoise Marilyn, 1962 (Slide 13) 10. Muhammad Ali, c. 1970s (Slide 14) 11. Liza Minelli, 1979 (Slide 15) 12. Campbells Soup Can, 1964 (Slide 16) 13. Marilyn Monroe, c. 1962 (Slide 17) T-Shirt Templates (the outline of a t-shirt on a 9x11 paper) Pencils Erasers

43. 34 The teacher will use a projector to show the advertisements (or a VCR/TV to show the TV commercials) The teacher will use the weekly helpers to distribute and collect materials Student Procedures: (Day 1) 45 minutes 1. The students will listen to a brief discussion about advertising and visual culture. 2. The students will answer the following questions: What is advertising? (The act or practice of calling public attention to one's product, service, need, etc., in order for people to purchase it) What are some forms of advertising? (Newspapers, magazines, radio, television, billboards, internet, etc) Are advertisements for everyone, or are some meant specifically for certain groups of people? How can we figure out who the advertisement is meant for? (What clues give that information away?) If you were advertising something for a child your age, what would you do to get their attention? Do you think advertising is art? Why or why not? 3. Next, the students will look at some advertisements and guess who the ads are meant for and explain why they think so. 4. After this activity, the students will listen to the instructions for the art making task of designing a t-shirt for elementary students. 5. The students will view some examples, and then ask any questions they need to in order to understand the assignment. 6. The students will use the remaining class time to draw their design onto the t-shirt template, filling up the space with drawings or words. (Day 2) 45 minutes 1. The students will help the teacher with a brief review about advertising and visual culture. They will explain how advertisements are designed for particular groups of people. 2. After the review, the students will view a demonstration on how to color neatly with markers. The teacher will mention to the students that using complementary colors (such as red and green) will help make the t-shirt designs stand out. The students will answer questions to show their understanding. 3. The students will use the remaining class time to finish coloring their t-shirt design. 4. The students will participate in cleaning up with the teacher monitoring.

44. 35 Closure/Review: The teacher will verbally review the lessons content, including the vocabulary words. The review is completed at the end of class after clean up and is used as a ticket out the door where the students answer the questions to line up. Each table must answer one question correctly, and if they cannot then the other students in the class may help them out. Assessment: The students will receive formative assessment during their art making time. The review at the end of class provides summative assessment. The t-shirt design will receive a grade based upon a rubric. Assessment Questions: 1. Did the student recognize and explain which clues in the advertisements tell us that they are made for children? 2. How did you advertise your favorite school subject for students your age? 3. Do you think other students your age will want to buy your t-shirt? Why or why not?

45. 36 Assessment Instrument: Favorite School Subject T-Shirt Design Rubric: Name_________________________________________________________________ Yes (2 points) No (0 points) Partly (1 point) 1. Did the student choose a favorite school subject? 2. Did the student draw symbols or pictures to advertise the school subject? 3. Did the student color neatly with markers? 100% finished 50-99% finished less than 50% 4. Did the student use his finished or her time wisely and finish the design? S = 7-8 points I got _____ points, so my grade is a(n)__________ N = 5-6 points U = 0-4 points Teacher Comments: Some sloppy and some neat

46. 37 Name__________________________________ T-Shirt Template Design 1st Grade

47. 38 Selling Your Art Grade 1 Duration: One 45 minute class By: Amanda Muirheid Fulton County Board of Education Standards Covered: Production VA1AR.1 Discusses his or her artwork and the artwork of others. a. Shows an interest in art. VA1AR.2 Uses a variety of approaches to understand and critique works of art. a. Describes and examines two artworks identifying similarities and differences. c. Compares and contrasts artwork based on subject, theme, and or elements. Lesson Theme: Students will view, discuss, and evaluate the class work. Objectives: The students will 1. critique their own work. 2. evaluate and give feedback on the work of their peers. Sample: N/A Resources: Fulton County Curriculum Guide Vocabulary: 1. Critique 2. Evaluation Introduction/Motivation: The students will be eager to share which t-shirt designs they would purchase and explain why. They will also enjoy giving feedback on how well students achieved the objectives. Instructors Procedures: (Day 1) 45 minutes 1. The teacher will begin the lesson by briefly discussing critique techniques. For example, the teacher will be sure to mention that mean comments are not allowed, but constructive (positive) comments are ok. Also, that it is ok to say which shirts they would buy but that they must give reasons for their picks.

48. 39 2. The teacher will ask the students the following questions: Which t-shirt design captures the interest of students your age and how? Which t-shirt had a great use of complementary colors? Is there a t-shirt design here that could be better if the artist did something differently? What? Is there a shirt design here that makes you want to buy it, even if it isnt about your favorite school subject? If so why? Do any of these designs remind you of Andy Warhols work? Why or why not? Do any of these shirts look like they were made for girls or boys only? Why? Do you think adults would like to buy any of these designs, why or why not? Is there an artwork here that has excellent craftsmanship? Point it out! Which do you like the most and why? If you could buy three shirt designs, which ones would you buy and why? What is something you learned during this art unit? What did you like the most about this art project? Why? What did you like least about this art project? Why? 3. If class time remains, the teacher can have students work on extensions such as creating an add for anything of their choice, or drawing in their sketchbooks. The teacher could also optionally give a written assessment on the unit. Materials and Materials Management: Student artworks The teacher will use the weekly helpers to distribute and collect materials Student Procedures: (Day 1) 45 minutes 1. The students will listen to a brief discussion about critiquing and evaluation. 2. The students will answer the following questions: Which t-shirt design captures the interest of students your age and how? Which t-shirt had a great use of complementary colors? Is there a t-shirt design here that could be better if the artist did something differently? What? Is there a shirt design here that makes you want to buy it, even if it isnt about your favorite school subject? If so why? Do any of these designs remind you of Andy Warhols work? Why or why not? Do any of these shirts look like they were made for girls or boys only? Why? Do you think adults would like to buy any of these designs, why or why not? Is there an artwork here that has excellent craftsmanship? Point it out! Which do you like the most and why? If you could buy three shirt designs, which ones would you buy and why? What is something you learned during this art unit?

49. 40 What did you like the most about this art project? Why? What did you like least about this art project? Why? 3. If time remains, the students will either create an add for anything of their choice, draw in their sketchbooks, or complete a written exam on the information covered during the unit. Closure/Review: The teacher will verbally review the lessons content, including the vocabulary words. The review is completed at the end of class after clean up and is used as a ticket out the door where the students answer the questions to line up. Each table must answer one question correctly, and if they cannot then the other students in the class may help them out. Assessments: The students will receive evaluation in the form of participation. Did the students listen and participate in the critique making appropriate comments and suggestions?

50. 41 Andy Warhol & Advertising Unit Test: Name_________________________ 1. Circle the picture below that is an Andy Warhol artwork: 2. Circle the word below that is NOT an advertisement: a. Billboard b. Book c. TV Commercial 3. What is talking and discussing artwork called? a. A Test b. A Pop c. A critique Grading Scale: 2-3 correct = S 1 correct = N 0 correct = U I got ______ out of 3 correct, so my grade is a(n) ______________

51. 42 Keith Haring & Advertising Grade 3 Duration: One 45 minute class By: Amanda Muirheid Unit 1: Art is a Language Fulton County Board of Education Standards Covered: Contextual Understanding VA3CU.1 Investigates and discovers the personal relationship of artist to community, culture, and world through making and studying art. b. Discovers personal relationship to community, culture, and world thorugh making and studying art. VA3CU.2 Views and discusses selected artworks, cultures, and artists to include a minimum of six per year. Lesson Theme: Students will become familiar with the artist Keith Haring and his work. They will understand how he communicated his ideas to the world. Objectives: The students will 1. view and discuss Keith Haring reproductions as art and as advertising. 2. give an example on how interpreting artwork can vary from person to person. 3. write about a Keith Haring artwork using the Feldman Method. Sample: N/A Resources: Haring, by Alexandra Kolossa Keith Haring Journals by Penguin Books I Wish I Didnt Have to Sleep! By Prestel Keith Haring Journey of the Radient Baby by Bunker Hill Publishing, Inc. Fulton County Curriculum Guide Vocabulary: 1. Keith Haring 2. Advertising 3. Symbols 4. Visual Culture

52. 43 Introduction/Motivation: The students will naturally be excited to see the bright and interesting drawings of Keith Haring. The book I Wish I Didnt Have to Sleep will be a fun motivator which will tap into the students creative side as each offer suggestions on interpretation. Instructors Procedures: (Day 1) 45 minutes 1. The teacher will begin the introduction by reading the first two pages of the book I Wish I Didnt Have to Sleep. 2. Next, the teacher will show the students some of the artworks in the book asking the following questions: What do you see in this artwork? Describe Harings use of colors? Why do you think Haring drew figures like this? What do you think he is trying to tell us with his art? What do you think the meaning (interpretation) of this artwork is? What is Haring advertising? How is his art like advertising? What are some other forms of advertising? How does he use symbols in his work? What would you do if you walked in the subway and saw his art? If Keith Haring were alive today and still creating art, where do you think you would see his art? Why? Do you like his work? Why or why not? 3. After discussing and offering interpretations for his work, the teacher will briefly explain the Feldman Method for writing about art, going over describe what you see, analyze the work, interpret the work, and judge the work. This will be done by having the class discuss each of the four areas using an artwork in the book. 4. The teacher will check for understanding, and then give each child a small Keith Haring picture and a Feldman Method writing worksheet. 5. The Teacher will help students complete this writing task and remind the students that they must write at least 3 complete sentences for each of the four areas. 6. The teacher will conduct clean up at the end of class. Materials and Materials Management: Images of Keith Harings Art including but not limited to: Radiant Baby Subway Drawings Murals Sculptures Untitled Works Feldman Method Worksheet

53. 44 Pencils Erasers The teacher will gather the students on the carpet to read and discuss the book The teacher will use the weekly helpers to distribute and collect materials Student Procedures: (Day 1) 45 minutes 1. The students will listen to the first two pages of the book I Wish I Didnt Have to Sleep. 2. Next, the students will view and discuss some of the artworks in the book answering the following questions: What do you see in this artwork? Describe Harings use of colors? Why do you think Haring drew figures like this? What do you think he is trying to tell us with his art? What do you think the meaning (interpretation) of this artwork is? What is Haring advertising? How is his art like advertising? What are some other forms of advertising? How does he use symbols in his work? What would you do if you walked in the subway and saw his art? If Keith Haring were alive today and still creating art, where do you think you would see his art? Why? Do you like his work? Why or why not? 3. After discussing and offering interpretations for his work, the students will listen to the description of the Feldman Method for writing about art in order to understand the four areas of describing what you see, analyzing the work, interpreting the work, and judging the work. The students will help the teacher complete this task by volunteering answers in a class example using an image from the book. 4. Next, each student will receive a small copy of a picture of a Keith Haring artwork and a Feldman Method writing worksheet. 5. The students will use the remaining class time to complete this writing task. 6. The students will participate in clean up time at the end of class. Closure/Review: The teacher will verbally review the lessons content, including the vocabulary words. The review is completed at the end of class after clean up and is used as a ticket out the door where the students answer the questions to line up. Each table must answer one question correctly, and if they cannot then the other students in the class may help them out.

54. 45 Assessment: The students will receive formative assessment during the discussion. The review at the end of class provides summative assessment. The Feldman Method worksheet will be evaluated based upon a rubric. Assessment Questions: 1. Did the student view and discuss Keith Haring reproductions as art and as Advertising making at least one comparison and one contrasting statement? 2. Did the student discuss the idea that interpretations of artwork can vary from person to person by giving two different examples of interpretations for one artwork? 3. Did the student write about a Keith Haring artwork using the Feldman Method using complete sentences and using evidence in the artwork to guide and support their answers?

55. 46 Assessment Instrument: Feldman Method Worksheet Rubric: Name_________________________________________________________________ Yes (2 points) No (0 points) Kind of (1 point) 1. Did the student describe the Keith Haring image using at least 3 complete sentences? 2. Did the student analyze the Keith Haring image using at least 3 complege sentences? 3. Did the student interpret the Keith Haring image based on what is seen in the artwork using at least 3 complete sentences? 4. Did the student judge the Keith Haring image and explain a reason why using at least 3 complete sentences? 8 points = 100 A I got _____ points, so my grade is a(n) __________ 7 points = 88 B 6 points = 75 C Teacher Comments: 5 points = 63 F 4 points = 50 F 3 or more sentences No complete sentences 1-2 sentences 1-2 sentencesNo complete sentences 3 or more sentences No complete sentences 1-2 sentences3 or more sentences 1-2 sentencesNo complete sentences 3 or more sentences

56. 47 Feldman Method Worksheet Name___________________________________________ Keith Haring Image # ____________ Directions: Use the Feldman Method to write about your artwork below. 1. Describing: What do you see? (List all things, colors, shapes, lines, patterns, forms, values, and textures that you see in your picture using at least 3 complete sentences.) ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ 2. Analyzing: How is the picture put together? (How are all those things you listed arranged? Is there a background, middle ground, and foreground? Is there overlapping? Whats at the top and bottom? Is there anything most important in your picture?) Write at least 3 sentences. ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________

57. 48 3. Interpreting: What does this artwork mean and why do you think it means that? (Use things you see in the artwork to come up with an idea about what the artist is trying to communicate using at least 3 complete sentences. What does this work of art mean? What is it trying to tell us?) ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ 4. Judging: Do you like the work of art? (Make sure you explain why you like it or why you do not like it using at least 3 complete sentences.) ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________

58. 49 Subway Communication Grade 3 Duration: Two 45 minute classes By: Amanda Muirheid Unit 1: Art is a Language Fulton County Board of Education Standards Covered: Meaning and Creative Thinking VA3MC.1 Engages in the creative process to generate and visualize ideas. a. Uses a visual/verbal sketchbook for planning and self-reflection. VA3MC.2 Formulates personal responses to visual imagery a. Responds to big ideas, universal themes, and symbolic images to produce images with richer and more personal meaning. Production VA3PR.1 Creates artwork based on personal experiences and selected themes. a. Creates artworks to express individual ideas, thoughts, and feelings from memory, imagination, and observation. VA3PR.2 Understands and applies media, techniques, and processes of two-dimensional art processes (drawing, painting, printmaking, mixed-media) using tools and materials in a safe and appropriate manner to develop skills. a. Creates drawings and paintings with a variety of media. Connections VA3CU.1 Applies information from other disciplines to enhance the understanding and production of artworks. d. Creates works of art inspired by universal themes (e.g., self, family, community, world). VA3CU.2 Develops life skills through the study and production of art. a. Manages goals and time. f. Takes care in craftsmanship. Lesson Theme: Students will choose a big idea to communicate to the world in a Keith Haring style. Objectives: The students will 1. select a big idea. 2. draw symbols in a Keith Haring style to communicate their big ideas. 3. create subway drawings with chalk to share their big ideas with others.

59. 50 Sample: Resources: Haring, by Alexandra Kolossa Keith Haring Journals by Penguin Books I Wish I Didnt Have to Sleep! By Prestel Keith Haring Journey of the Radient Baby by Bunker Hill Publishing, Inc. Fulton County Curriculum Guide Vocabulary: 1. Keith Haring 2. Style 3. Advertising 4. Big Ideas 5. Craftsmanship Introduction/Motivation: The teacher will get the students excited about drawing like Keith Haring by selecting some volunteers from the class to pose in order to draw them. The students will quickly catch on and begin sketching drawings based on big ideas. Instructors Procedures: (Day 1) 45 minutes 1. The teacher will briefly review Keith Haring, advertising, and communicating ideas. 2. Next, the teacher will choose a few students to come to the front of the class to pose, and the teacher will draw them in the Keith Haring style.

60. 51 3. After this demonstration, the teacher will ask the students, What are big ideas? The teacher will write down the answers on the board to generate a list of ideas. 4. The teacher will then introduce the students drawing task by explaining that they must select one big idea and draw a picture in a Keith Haring style which communicates this big idea. The teacher can draw some examples on the board and discuss with the students. 5. The teacher will also mention the use of symbols, and then check for understanding. 6. The teacher will help students with their sketches about their big ideas. 7. The teacher will conduct clean up at the end of class. (Day 2) 45 minutes 1. The teacher will review the art making task and offer suggestions/tips. 2. The teacher will answer any questions the students have about their drawings. 3. Next, the teacher will demonstrate how to select the best drawing based on the big idea to draw on black paper with white chalk, just like Keith Haring did! 4. The teacher will assist students with completing their subway drawings. 5. The teacher will conduct clean up at the end of class. Materials and Materials Management: Sketchbooks Pencils Erasers Images of Keith Haring to reference Drawings on the board for examples Black paper 12 x 24 White Chalk The teacher will use the weekly helpers to distribute and collect materials Student Procedures: 1. The students will listen and participate in a brief review about Keith Haring, advertising, and communicating ideas. 2. Next, the students will volunteer to pose and be drawn by the teacher in a Keith Haring style. 3. After this demonstration, the students will help the teacher compile a list of big ideas on the board. 4. The students will then pay attention to an introduction of the art making task, of selecting one big idea to communicate through a Keith Haring style drawing. 5. The students will watch a demonstration and offer ideas about how to use symbols to help communicate their ideas. 6. The students will then use the remaining class time to sketch about 1-3 drawings based upon a big idea. 7. The students will participate in clean up at the end of class.

61. 52 (Day 2) 45 minutes 1. The students will listen to a review about the art making task. 2. They will ask any questions for clarification about their drawings if needed. 3. Next, the students will view a demonstration about choosing the best drawing based on the big idea to draw on black paper with white chalk. 4. The students will complete their subway drawing. 5. The students will participate in clean up at the end of class. Closure/Review: The teacher will verbally review the lessons content, including the vocabulary words. The review is completed at the end of class after clean up and is used as a ticket out the door where the students answer the questions to line up. Each table must answer one question correctly, and if they cannot then the other students in the class may help them out. Assessment: The students will receive formative assessment during their art making time. The review at the end of class provides summative assessment. The subway drawing will receive a grade based upon a rubric. Assessment Questions: 1. What are some big ideas? 2. Did the student brainstorm big ideas and draw 3 or more pictures to communicate the idea in the style of Keith Haring? 3. Did the student create a subway drawing which communicates a big idea to the world successfully using at least 3 symbols? 4. Do you think others will understand your big idea, and why or why not?

62. 53 Assessment Instrument: Subway Drawing Rubric: Name_________________________________________________________________ Yes (2 points) No (0 points) Partly (1 point) 1. Did the student brainstorm many different big ideas? 2. Did the student draw the picture in a Keith Haring style well? 3. Did the student successfully communicate their big idea using at least 3 symbols? 4. Did the student finish the work using good time management? 5. Did the student have good craftsmanship? 10 points = 100 A 9 points = 90 A I got _______ points/10 so my grade is a(n)_________ 8 points = 80 B 7 points = 70 C Teacher Comments: 6 points = 60 F 5 points = 50 F More than 3 None 1-2 ideas I tried, but it could be better Not at allYes very well No symbols 1-2 symbols Between 50- 99% finished Less than 50% finished 100% finished Some is neat and some is sloppy All is sloppyAll the work is neat

63. 54 Interpretation & Art Grade 3 Duration: One 45 minute class By: Amanda Muirheid Fulton County Board of Education Standards Covered: Assessment and Reflection VA3AR.1 Discusses his or her artwork and the artwork of others. VA3AR.2 Uses a variety of approaches to understand and critique works of art. d. Discusses how the elements and principles of design contribute to the composition in an artwork. Lesson Theme: Students will evaluate their own work and the work of others. Objectives: The students will 1. critique their own work. 2. evaluate and give feedback on the work of their peers. Sample: N/A Resources: Haring, by Alexandra Kolossa Keith Haring Journals by Penguin Books I Wish I Didnt Have to Sleep! By Prestel Keith Haring Journey of the Radient Baby by Bunker Hill Publishing, Inc. Fulton County Curriculum Guide Vocabulary: 1. Critique 2. Evaluation Introduction/Motivation: The students will be eager to share their ideas on which subway drawings clearly communicate the big idea. They will also enjoy giving feedback on which artworks they like the best.

64. 55 Instructors Procedures: (Day 1) 45 minutes 1. The teacher will begin the lesson by briefly discussing critique techniques. For example, the teacher will be sure to mention that mean comments are not allowed, but constructive (positive) comments are ok. 2. The teacher will ask the students the following questions: Which artwork has a great use of line and how? Which artwork has a great use of shapes and how? Choose one artwork to talk about how the artist used space in it. Point out any usage of texture in an artwork. How does this enhance the design or help communicate meaning? Point out a great use of pattern in an artwork. How did a student use rhythm in the drawing? Which artwork is well balanced and how? How did the artists emphasize their big idea? How does a subway drawing have harmony? How does a subway drawing have unity? Which artist has great variety in his or her drawing? Which artwork looks like a Keith Haring work and why? Guess the interepretation/big idea of this artwork? Why do you think so? The artist can then explain the actual big idea/intent afterwards. Is there an artwork with an unclear interpretation and why? What could the artist have done to more clearly communicate the meaning? Is there an artwork here that has excellent craftsmanship? Point it out! Which do you like the most and why? What would people say if they saw this in the subway? Why would they take time to stop and look? What is something you learned during this art unit? What did you like the most about this art project? Why? What did you like least about this art project? Why? 3. If class time remains, the teacher can administer a written test on the information covered during the unit. Materials and Materials Management: Student artworks hung up to view The teacher will use the weekly helpers to distribute and collect materials Written test Pencils Erasers

65. 56 Student Procedures: (Day 1) 45 minutes 1. The students will listen to a brief discussion about critiquing and evaluation. 2. The students will answer the following questions: Which artwork has a great use of line and how? Which artwork has a great use of shapes and how? Choose one artwork to talk about how the artist used space in it. Point out any usage of texture in an artwork. How does this enhance the design or help communicate meaning? Point out a great use of pattern in an artwork. How did a student use rhythm in the drawing? Which artwork is well balanced and how? How did the artists emphasize their big idea? How does a subway drawing have harmony? How does a subway drawing have unity? Which artist has great variety in his or her drawing? Which artwork looks like a Keith Haring work and why? Guess the interepretation/big idea of this artwork? Why do you think so? The artist can then explain the actual big idea/intent afterwards. Is there an artwork with an unclear interpretation and why? What could the artist have done to more clearly communicate the meaning? Is there an artwork here that has excellent craftsmanship? Point it out! Which do you like the most and why? What would people say if they saw this in the subway? Why would they take time to stop and look? What is something you learned during this art unit? What did you like the most about this art project? Why? What did you like least about this art project? Why? 3. If time remains, the students will take a written exam on the information covered during the unit. Closure/Review: The teacher will verbally assess students during the critique for formative assessment. The written exam will provide summative assessment. Assessments: The students will receive evaluation in the form of participation, and a grade on the written exam.

66. 57 Keith Haring & Advertising Unit Test: 1. Circle the picture below that is a Keith Haring artwork: 2. Where did Keith Haring draw his pictures to communicate to the world? a. in the mall b. in the subway c. on billboards 3. What did Haring use to help communicate meaning in his drawings? a. symbols b. form c. texture 4. What is NOT a big idea? a. Family b. Community c. Puppy Dogs 5. What is evaluating artwork by discussion called? a. a Critique b. a Talk c. a Test Grading Scale: 5 correct = 100 A 4 correct = 80 B 3 correct = 60 F 2 correct = 40 F 1 correct = 20 F 0 correct = 0 F I got ______ out of 5 correct, so my grade is a(n) __________________

67. 58 Subway Installation Grade 3 Duration: One 45 minute class By: Amanda Muirheid Fulton County Board of Education Standards Covered: Production VA3PR.4 Participates in appropriate exhibition(s) of artworks. b. Participates in exhibit. Lesson Theme: Students will transform the exhibit space into a subway station. Objectives: The students will 1. create subway decor. 2. help hang up work and decor. 3. write about the experience. Sample: N/A Resources: Haring, by Alexandra Kolossa Keith Haring Journals by Penguin Books I Wish I Didnt Have to Sleep! By Prestel Keith Haring Journey of the Radient Baby by Bunker Hill Publishing, Inc. Fulton County Curriculum Guide Vocabulary: 1. Exhibit 2. Installation Introduction/Motivation: The students will be eager to share their ideas about turning the exhibit space in the hallway into a subway station. They will also enjoy seeing the work up on the walls and hearing feedback from their peers.

68. 59 Instructors Procedures: (Day 1) 45 minutes 1. The teacher will discuss exhibit space and what an installation is, and ask the question, How can we turn our hallway into a subway station? 2. The teacher will show pictures of the subway walls so that students can see what they look like. 3. The teacher will distribute butcher paper to the tables and instruct some of the students to either create an ad for the wall (like a movie or product poster), some will tape the artwork to the paper, and some will create a subway station sign. 4. The teacher will then take the class quietly into the exhibit space and work with the students to hang up the ads, station sign, and the artwork. 5. The teacher will view the installation with the class and briefly discuss the results. 6. The teacher will guide the students back to class and get ready for dismissal. Materials and Materials Management: Student artworks to hang Tape Butcher paper to make ads, signs, and hang up art onto Stickki Clips (Optional: Hot Glue if needed) Pictures of subway station walls The teacher will use the weekly helpers to distribute and collect materials The teacher can use a PowerPoint Presentation to view subway walls or print out pictures from the internet to view at the tables Student Procedures: (Day 1) 45 minutes 1. The students will discuss exhibit space, what an installation is, and answer the question, How can we turn our hallway into a subway station? 2. The students will look at pictures of the subway walls to see what they look like. 3. The students will participate in making a sign as a subway ad, a sign saying the subway station name, or taping the student artwork to butcher paper. 4. The students will then go quietly into the exhibit space and help assist in hanging up the ads, station sign, and the artwork in the hallway. 5. The students will the installation and briefly discuss the results. 6. The students will then go back to class and get ready for dismissal.

69. 60 Closure/Review: The teacher may have students write about the ex

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